Tuesday, January 7, 2020

How do William Blake and William Wordsworth respond to...

How do William Blake and William Wordsworth respond to nature in their poetry? The Romantic Era was an age, which opened during the Industrial (1800-1900) and French Revolution (1789). These ages affected the romantic poets greatly by disrupting and polluting nature. Before the Industrial Revolution, William Blake wrote about Songs of Innocence. He also wrote Songs of Experience but after the Industrial Revolution. William Wordsworth, on the other hand, continued on an optimistic route and ignored the Industrial Revolution in his poems. He instead wrote about nature only and its beauty. Previous Augustan poets were more controlled and rule governed. They were also concerned with order. In Blake’s ‘London’, he describes the†¦show more content†¦Wordsworth talks about the mind being free and relaxed, â€Å"Ne’er saw I, never felt, a calm so deep!† The adjective ‘deep’ shows how immense the tranquility is. It also shows how the poem is personal, â€Å"Ne’er saw I.† He sets the scene in the morning, creating a feeling of calmness and peace, â€Å"The beauty of the morning; silent, bare.† The noun ‘beauty’ implies splendor and magnificence, showing the opposite of what Blake writes about ‘London’. The adjective ‘silent’ is also the opposite of what Blake writes in ‘London’, â€Å"How the youthful Harlot’s curse†. Wordsworth mentions the daffodils as people, â€Å"When all at once I saw a crowd.† Similarly, he uses personification, ‘crowd’, to imply that everyone is unified in nature. He uses color in his poem to indicate a deeper meaning, â€Å"A host, of golden daffodils.† The adjective â€Å"golden† illustrates purity as well, therefore connecting it to innocence. The noun ‘host’ has a slight religious tone, which also relates to purity. ‘The Daffodils’ has eight syllables in each line. This makes the poem seem more complex than ‘Spring’. In ‘Spring’, a lively tone is repeated throughout the poem,†Merrily, merrily we welcome in the year.† The adverb ‘merrily’ is repeated to highlight the positive tone of the poem and to make it last longer. The pronoun ‘we welcome in the year’ also shows us how everyone is unified in nature. Blake uses colour to expand the meaning of the sentence, â€Å"Come andShow MoreRelatedWilliam Blake Had A Strict Standard On How His Poems Should1431 Words   |  6 Pages William Blake had a strict standard on how his poems should appear. In his poems, he was not very concerned with grammar or spelling, even though he was writing in a time much after the official English language had been created. Much of his spellings are very old-fashioned to us and at times can sound very awkward. Even his readers in his time found that the wording and spelling of phrases and words was quaint. William Blake also used forms of punctuation that were not considered to be standardRead MoreThe Romantic Period Of Jean Jacques Rousseau1915 Words   |  8 Pagesduring the Eighteenth Century, influential ideologies, portrayed in literature, from religion to nature, to childhood and education began to shape people’s perception and thinking on such matters. Jean-Jacques Rousseau was a contemporary, and is considered one of the earliest prominent voices in Nineteenth-Century Romanticism. The Romantic period marked the gradual but significant shift from the rational thinking of the Eighteenth-Century Enlightenment to a more emotional and individual thinkingRead More Attitudes Towards Nature in Poetry Essay2144 Words   |  9 PagesAttitudes Towards Nature in Poetry Discuss Wordsworths and Coleridges attitudes to nature in Their poetry with particular reference to Resolution and Independence (The Leech Gatherer) and This Lime Tree Bower my prison Coleridge and Wordsworth are both now referred to as Romantic poets, during the romanticism period there was a major movement of emphasis in the arts towards looking at the world and recognising the beauty of humans emotions and imaginations and the world in which weRead More The Sublime in Tintern Abbey Essay3280 Words   |  14 Pages The Sublime in Tintern Abbey Lifting from Longinus, Burke, and Kant -- authors whose works Wordsworth would have read or known, perhaps indirectly, through Coleridge -- I want to look at how our reading of this nuanced term is necessarily problematic and difficult to pin down. Is the sublime a stylistic convention of visual representation? Is it a literary trope? Is it a verbal ruse? Or is the sublime a conceptual category defying, or at least interrogating the validity of verbal representationRead MoreThe Raven And Ulalume By Edgar Allan Poe3442 Words   |  14 PagesDeath on the Lives of Those Left Behind: Alliteration and Repetition Discussed in Edgar Allan Poe’s The Raven and Ulalume Were I called on to define the term ‘Art,’ Poe once wrote, I should call it ‘the reproduction of what the Senses perceive in Nature through the veil of the Soul.’ The intense grief that is felt after losing a loved one can often result in despair and irrationality, but in some of Poe’s poetry it has resulted in the severe mental collapse of the narrator. In The Raven and UlalumeRead MoreThe Sonnet Form: William Shakespeare6305 Words   |  26 PagesShakespeare’s Sonnets William Shakespeare The Sonnet Form A sonnet is a fourteen-line lyric poem, traditionally written in iambic pentameter—that is, in lines ten syllables long, with accents falling on every second syllable, as in: â€Å"Shall I compare thee to a summer’s day?† The sonnet form first became popular during the Italian Renaissance, when the poet Petrarch published a sequence of love sonnets addressed to an idealized woman named Laura. Taking firm hold among Italian poets, the sonnet

No comments:

Post a Comment

Note: Only a member of this blog may post a comment.